Intimate and Irresistible Schubert Piano Favourites

By Hermione Lai, Interlude

The piano music of Franz Schubert remains deeply beloved for its emotional depth, melodic beauty, and innovative use of harmony. Schubert blended lyricism with harmonic exploration, and his gorgeous and highly expressive melodies are enriched by a harmonic language overflowing with chromaticism and surprising modulations.

Franz Schubert

Schubert composed extensively for the piano, with his oeuvre ranging from intimate miniatures to expansive sonatas. Actually, his piano sonatas are central to his piano repertoire. He composed 21 sonatas, combining lyrical, song-like melodies with intricate harmonic progressions. As some commentators have noted, “Schubert bridged the clear formal structures of Classical music with more exploratory and expressive Romantic tendencies.”

Schubert also composed several sets of character pieces, works that reflect his gift for melody and mood. Each work encapsulates a distinct emotional landscape, ranging from deeply introspective to playful. We also find shorter, more whimsical pieces that draw from folk-like rhythms and melodies, giving them a sense of charm and immediacy. To commemorate Schubert’s birthday on 31 January, we decided to dedicate a blog to his 10 most popular piano works.

Impromptu in G-flat Major, Op. 90, No. 3 (D. 899) 

Let’s get started with one of Schubert’s most popular and best-loved piano compositions, the Impromptu in G-flat major, Op. 90, No. 3 (D. 899). What a stunning exploration of lyrical elegance and expressive depth. Just listen how Schubert weaves together moments of tranquillity and exuberance!

From the opening notes, the piece introduces a melody that seems to shimmer and flow effortlessly, casting a spell of quiet beauty. The theme is delicate but imbued with a quiet longing, its long and sweeping phrases unfolding as if in a dream. But beneath its serene surface, Schubert crafts subtle harmonic shifts that add layers of complexity and intrigue, creating a sense of ongoing motion.

Schubert’s Impromptu in G-flat Major, Op. 90, No. 3 (D. 899)

The work takes a more playful turn in the middle section. Syncopated rhythms and rapid cascading figures inject a sense of sparkle and vitality. The music suddenly comes alive, even hinting at a joyful dance before returning to the opening’s more introspective and lyrical atmosphere.

Schubert effortlessly navigates between lyrical beauty and impetuous energy, with moments of delicate intimacy and sudden surges of emotion creating an engaging character. As with much of Schubert’s music, there is a sense of improvisation as each phrase feels spontaneous, yet it is carefully crafted. This gorgeous Impromptu is an intimate journey through the full range of human emotions, wrapped in Schubert’s unforgettable signature harmonic richness and melodic inventiveness. For me, it’s a musical miracle!

Sonata in B-flat Major, D. 960 

Franz Schubert composed his B-flat Major Sonata, D. 960, during the final months of his life in 1928. It is a profound and introspective work that showcases the composer’s exceptional ability to express deep emotional complexity through his music. This sonata is often regarded as a summation of his compositional style, blending lyrical beauty, harmonic richness, and a kind of emotional vulnerability. It is a work that speaks with a quiet but unmistakable intensity, reflecting both the joy and the melancholy of Schubert’s final years.

Schubert’s Sonata in B-flat Major, D. 960

The sonata is structured in four movements, each offering its own distinct emotional landscape while contributing to the larger narrative of the piece. The grand and restless “Allegro” is filled with tension and lyrical beauty, while the second movement “Andante sostenuto” offers a deeply introspective and meditative contrast. The “Scherzo” injects a playful and complex energy with darker undertones, the concluding “Allegro” reflects Schubert’s creativity and looming mortality.
It’s amazing how Schubert balances a sense of sweeping grandeur with profound intimacy in D. 960. The sonata is sometimes described as an elegy, filled with an almost palpable sense of nostalgia, resignation, and yet, at times, quiet optimism. It represents a musical reflection on the fragility of life and the passage of time, and it is regarded as a crowning achievement of Schubert’s career. It is a late masterpiece, one of the most emotionally profound and structurally sophisticated works in the piano repertoire.

Moments Musicaux, Op. 94 No. 3 

Schubert composed the “Moments Musicaux,” actually not his title, in 1827 when he was already dealing with his illness. Despite his health problems, he continued to compose music full of emotional depth, and each piece in the set captures a fleeting moment. The third piece of the set in F minor has an air of contemplation, almost like a musical sigh, and it is often seen as a window into Schubert’s more personal and reflective side.

Schubert’s Moments Musicaux Op. 94, No. 3

Op. 94 No. 3 is scored in a straightforward ABA structure. The opening section in F minor has a melancholy feel, as the mood is calm but carries an undertone of quiet reflection or remembrance. As the key changes to A-flat Major, the mood lightens, and Schubert offers a brief moment of relief. The opening section returns, but with some variations. The overall mood is still melancholy, but there is a sense of acceptance now as if returning to something familiar but with a fresh perspective and deeper understanding.

The piece has an air of contemplation, like a short reflection on a fleeting emotion. It is not overly dramatic but rather quiet and introspective. The music moves through subtle shifts in mood, balancing melancholy with moments of warmth, all while maintaining a gentle and understated elegance. It surely is one of the 10 most popular piano works by Franz Schubert.

Wanderer Fantasy D. 760 

Franz Schubert composed his Fantasie in C Major, nicknamed the “Wanderer Fantasy”, in 1822. It is a vast and ambitious piece that pushes the boundaries of both form and expression. With its blend of lyrical beauty, harmonic richness, and technical complexity, the “Wanderer Fantasy” is a deeply emotional and highly intricate work.

The title “Wanderer Fantasy” is actually referencing the “Wanderer motif,” which appears in many of Schubert’s songs and instrumental works. The image of the wanderer evokes themes of longing and transcendence, and Schubert’s own feeling of alienation brought on by relative obscurity and financial struggles is thought to resonate within the music.

Schubert’s Schubert’s Wanderer Fantasy D. 760

The work unfolds in four movements, but it is considered a single large-scale entity unified by recurring motifs. The “Wanderer motif” appears throughout the piece in different guises, harmonically, rhythmically, and contrapuntally transformed. The emotional trajectory is highly varied, with sudden shifts in mood and the portrayal of tension and release. Schubert’s harmonic language is unpredictable, as frequent modulations shift between distant keys, creating a sense of movement and unpredictability. Without a doubt, this is one of Schubert’s most popular piano works.

Impromptu in E-flat Major, Op. 90, No. 2 (D.899) 

For our next selection, let us return to the set of Impromptus Op. 90. The E-flat Major piece of the set is known for its grandeur and lyrical warmth. It is often interpreted as one of the most elevated works in Schubert’s piano repertoire. Less introspective than the G-flat Major No. 3, it nevertheless possesses its own unique charm and emotional depth.

The lyrical and flowing theme in E-flat Major is characterised by long and sweeping phrases, and it almost feels orchestral. Schubert introduces subtle contrasts through modulations, enhancing the emotional expressiveness of the piece. The central section is scored in the minor key and sounds more agitated and complex. It is filled with chromaticism and harmonic tension, and the contrast between major and minor and between the lyrical and dramatic, is quintessentially Schubertian.

The return to the opening brings back the original lyrical warmth but it feels much enriched as it is now heard through the emotional contrast of the middle section. There is a gentle and peaceful coda that revisits elements from the opening, but it has become more introspective. Schubert’s expressive lyricism, his sensitivity to harmonic colour, and his mastery of form are all on full display in this work, making it one of the standout pieces in the Op. 90 set and a favourite in the piano repertoire.

Impromptu in A-flat Major, Op. 142 No. 2 (D.935) 

Published more than a decade after Schubert’s death, the set of four Impromptus D. 935 actually dates from the year after he had completed his “Unfinished Symphony.” Although these pieces are labelled “Impromptus,” they reach far beyond mere improvisatory charm. They are highly structured and emotionally profound, and demonstrate Schubert’s ability to blend technical brilliance with lyrical depth.

The Impromptu in A-flat Major (Op. 142 No. 2) stands out for its rich, song-like themes, its subtle use of counterpoint, and its dynamic contrasts. The piece has a relaxed, almost conversational quality, but beneath its surface lies a sophisticated exploration of form and harmony, making it one of the gems of Schubert’s piano repertoire.

The piece is a perfect balance of lyricism and elegance, with an effortless flow that disguises its underlying harmonic complexity. The piece moves from the warmth of the opening theme to the lively contrast of the B section before returning to the familiarity of the opening melody, enriched with new nuances. The coda provides for a peaceful resolution. Schubert blends spontaneity with deep emotional resonance and structural sophistication; it’s a miniature masterpiece!

Sonata in A Major, D. 959 

Like D. 960, the Piano Sonata in A Major, D. 959 was composed in 1828, shortly before his untimely death in the same year. It is part of a pair of monumental piano sonatas as both reflect Schubert’s deep maturity as a composer. Both display profound emotional depth, innovative harmonic progressions, and an intimate, lyrical style. D. 959 stands out for its elegance and sense of balance, juxtaposing light-hearted and classical elements with moments of profound lyricism and subtle harmonic complexity.

This sonata stands out for its lyrical richness and melody beauty. The harmonic language is rooted in Classical tradition, however, Schubert pushes all the boundaries. Shifts between major and minor modes and unconventional key relationships greatly enhance the emotional depth of the work. Schubert combines Classical forms like sonata, menuetto, and rondo with innovative developments and expressive contrasts. Despite moments of grandeur, the sonata retains an intimate, personal character, with subtle nuances and dynamic contrasts that invite deep reflection.

Surely one of the 10 most popular piano works by Franz Schubert, D. 959 is a beautiful example of his late style, combining lyricism, harmonic sophistication, and thematic inventiveness. With its graceful menuetto, elegiac second movement, and jubilant finale, this sonata is one of Schubert’s crowning achievements. Its warmth, depth, and emotional range continue to captivate pianists and audiences alike.

Moments Musicaux, Op. 94 No. 6 

I think we can safely feature one more Moments Musicaux, specifically Op. 94 No. 6 in A-flat Major. It is a delightful work that blends lyrical beauty, subtle harmonic twists, and an almost improvisatory character. It reflects Schubert’s deepening sense of introspection and his mastery of melody, yet it retains a certain lightness that is almost playful at times.

The melody has a singing, almost vocal quality. Its long, lyrical phrases are reflective of Schubert’s ability to craft deeply expressive lines. The melody is sweet and flowing but not without moments of chromaticism that lend a bittersweet edge to the otherwise peaceful character of the piece. However, it isn’t a melody that reveals all of its meaning immediately; instead, it invites the listener to explore its varied shades that often mirror a poetic, emotional landscape.

Franz Schubert

Schubert also provides a particularly engaging harmonic language. While the A-flat major key gives the piece a rich, warm colour, Schubert subtly shifts between major and minor modes and introduces some unexpected harmonic turns. These moments provide emotional depth without disrupting the overall calm atmosphere. Although it is not overtly dramatic or technically demanding, it feels like a brief but meaningful moment in time.

Sonata in G Major D. 894 

As with all Schubert’s late piano sonatas, D. 894 is often noted for its intimate, almost introspective character. It does not showcase a grandiose or virtuosic techniques but emphasises inner depth and provides a subtle personal connection with the performer and listener. With its lyrical melodies, rich harmonic textures, and emotional depth, this sonata blends classical form with the emerging Romantic sensibilities of Schubert’s time.

Robert Schumann called the G-Major Sonata “a poem in the form of a sonata.” This poetic reference highlights Schumann’s view that Schubert’s style was not only about structural mastery but also about emotional expression and lyricism. To Schumann, Schubert’s music seemed to convey an inner world of reflection and feeling, much like the expressions found in poetry.

Ländler D. 366

Let us conclude this blog on the 10 most popular piano works by Franz Schubert, with some delightful short pieces often associated with a folk dance. The “Ländler” is a traditional Austrian dance that was a precursor to the waltz, a dance with a slightly rustic feel. Schubert composed a substantial number of “Ländler” throughout his life, either as part of larger piano works or as standalone pieces. These pieces show Schubert’s deep connection to Austrian folk music, which was a key influence in his compositions.

Schubert’s Ländler D. 366

Schubert’s “Ländler” are beautiful examples of how a simple folk dance can be transformed into something rich, nuanced, and emotionally resonant. With their infectious rhythms, graceful melodies, and subtle harmonic depth, Schubert takes what might be seen as a humble dance form and elevates it into a moment of emotional reflection. These miniatures are windows into the emotional life of the composer, tinged with both joy and a quiet sense of melancholy.

I hope you enjoyed this little survey of the most popular piano works by Franz Schubert. Which ones are your favourite, and could you let us know which one should have been included?

Mozart’s Piano Masterpieces: 10 Most Popular Piano Sonatas

by Hermione Lai, Interlude 

Everybody loves Mozart’s piano sonatas, works that delightfully blend charm, wit, and elegance. Composed between 1774 and 1789, these 18 pieces showcase his mastery of melody, harmony, and form. To be sure, each sonata balances formal classical structures with surprising harmonic twists and ingenious thematic development, blending a sense of humour with deep emotional expressions.

Mozart at the piano

With sparkling passages, lively rhythms, and lyrical themes, they’re a treasure trove of emotions, expressing joy, melancholy, brilliance, and whimsy. And they remain a staple of the piano repertoire, offering performers an exciting mix of technical challenges and profound musical expression while delighting listeners with their timeless beauty and charm.

Since January is Mozart’s birth month, we decided to feature his 10 most popular piano sonatas. Of course, the selection is all subjective, but I tried to include a nice mix of sonatas that showcase his lighter classical style with more profound and experimental pieces. So here are 10 Mozart piano sonatas that capture Mozart’s innovative style and emotional variety.

Piano Sonata No. 11 in A Major, K. 331 

I think the A-Major Sonata K. 331 belongs at the top of the list. It is a wonderful piece that captures the playful genius of Mozart. The entire sonata is full of grace and elegance, with a balanced mix of sophistication and humour. But it’s really the third movement, the famous “Alla Turca” (Turkish March), that stands out.

People instantly recognise the “Turkish March” because of its bright, lively, and infectious character. It actually is a musical portrayal of the Turkish military bands that were popular in Europe during Mozart’s time. The rhythm, with its percussive feel, and the rising and falling melodies evoke a sense of a festive, almost exotic march.

Mozart’s Piano Sonata No. 11 in A Major, K. 331 music score excerpt

But it’s not just musical exoticism as Mozart blends the march beautifully into the framework of the classical sonata, turning a simple idea into something sophisticated and accessible. But we also hear Mozart’s craftsmanship in the conversational, almost improvisatory first variation movement and that lively and delightful second. What a fresh and vibrant sonata, a true testament to Mozart’s timeless musical creativity.

Piano Sonata No. 16 in C Major, K. 545 

Mozart’s C-Major, K. 545 is often called the “Sonata facile,” which essentially means easy sonata. It is one of the first Mozart sonatas studied by beginners, but its simplicity is deceptive. Behind its apparent straightforwardness, there is a carefully crafted dialogue between themes, textures, and keys. Just listen to how the different musical voices interact, shift in tone, and express contrasting ideas; it is very much like the flow of a dynamic conversation.

The opening movement is lively and energetic, beginning with a cheerful and simple tune. As the music shifts to a more lyrical theme, it creates a delightful back-and-forth between the two ideas in the manner of a musical conversation. When the main theme returns it offers a sense of reassurance and familiarity, and the movement concludes in a joyous and most satisfying way.

Mozart in Italy

The second movement is slow, introspective, and reflective, resembling a quiet, thoughtful conversation. It begins with a gentle melody that feels like a soft question, inviting reflection. The mood remains calm and personal throughout, with the music exploring emotions tenderly before returning to its original theme and concluding peacefully.

The last movement is lively and playful, full of energy and excitement, like an invitation to have fun. The main theme returns multiple times, each time with a new twist. There are brief, surprising variations that add to the playful back-and-forth before the movement concludes with a joyful flourish, wrapping up the piece on a bright, happy note.

Piano Sonata No. 8 in A minor, K. 310 

Mozart’s A-minor Sonata, K. 310, dates from 1778 and from a time when Mozart was going through a particularly difficult period in his life. He was living in Paris then and desperately tried to establish himself as a composer and performer. He was struggling with severe financial difficulties and personal setbacks when his mother, Anna Maria Mozart, died in Paris on 3 July 1778.

The loss of his mother affected him deeply, and the Sonata K. 310 reflects a shift toward a more serious and emotional musical language. Mozart was only in his mid-20s, but the depth of expression in this work suggests a maturity beyond his years. It is one of Mozart’s most personal and emotionally complex works.

Mozart’s Piano Sonata No. 8 in A minor, K. 310, first page of autograph score

The contrasts of mood, key, and style reflect the turmoil Mozart was experiencing in his personal life, and it serves as a profound reflection of human emotion, balancing virtuosity with deep expressiveness. It’s a sonata that demands both technical skill and emotional depth from the performer, and it offers the listener a glimpse into the inner world of one of history’s greatest composers during a time of great personal loss and professional struggle.

Piano Sonata No. 12 in F Major, K. 332 

The F-Major Piano Sonata K. 332 was composed in the summer of 1783, during a period when he was firmly established as a successful composer in Vienna. His career was flourishing, and he had already written several piano concertos and other piano sonatas. In addition, he had recently married Constanze Weber and was receiving steady commissions.

K. 332 is one of the most celebrated works in the classical piano repertoire. It demonstrates Mozart’s exceptional command of melody, form, and harmony, and stands as a shining example of his ability to blend elegance with technical brilliance. Known for its emotional depth and dramatic character, this sonata features a greatly matured musical style.

This sonata is at once elegant, emotional, and technically demanding. It combines clear formal structures with deep musical expressions. The contrast between the movements, from the lively first movement to the contemplative second and the playful third, demonstrates Mozart’s ability to shift moods and maintain a cohesive sense of narrative. This sonata remains a cornerstone of the classical piano repertoire and performers and audiences love it for its blend of sophistication, emotional depth, and technical brilliance.

Piano Sonata No. 14 in C minor, K. 457 

Mozart was a musical genius who played several different instruments, including the violin, viola, organ, and the harpsichord. But his all-time favourite was the new fortepiano, an instrument that had significantly improved in the 1770s. Mozart encountered the instrument of Johann Andreas Stein in Augsburg in 1777, and once he arrived in Vienna, he bought a pianoforte made by Anton Walter.

Mozart’s piano

As a scholar writes, “these instruments were perfectly suited to the style cultivated by Mozart and his contemporaries, so vastly different from the polyphonic constructions of earlier generations. At the keyboard, whether performing his sonatas, concertos, or the improvisations described in numerous accounts, Mozart always favoured “taste, precision, and emotion.”

The C-minor Sonata, K. 457 is one of Mozart’s most emotionally intense and dramatically powerful works for solo piano. It dates from 1784, and from a time when Mozart was at the height of his fame as both a composer and pianist. Beautifully constructed, this sonata balances structural precision with expressive depth. Its popularity and charm derives from the contrast between virtuosic moments and more contemplative lyrical sections. According to critics, Mozart shows the ability to combine emotional depth with intellectual clarity, “qualities that have made his music timeless.”

Piano Sonata No. 13 in B-flat Major, K. 333 

The B-flat Major Sonata K.333 was probably written in the city of Linz around 1783. It is one of Mozart’s lightest works, however, with moments that reach beyond mere charm. Some commentators have suggested that it is feminine throughout, but clearly, not everybody agrees. In the event, it is a work of sheer loveliness and certainly belongs to the 10 most popular Mozart piano sonatas.

The opening movement is in “galant” style, featuring short and balanced phrases to construct the themes. And can you hear the little sigh motives throughout? It is an elegant combination of textbook sonata-form construction, Italianate vocal melodies and sparkling keyboard figuration.

The emotional centre of the work is found in the “Andante cantabile,” an operatic aria transferred to the keyboard idiom. We hear lots of dignified lyrical reflections, but in the middle section of the movement, there is some delicious chromaticism that evolves into an intense expressiveness—what a stunning passage.

It all concludes with a toe-tapping sonata rondo full of playful lightness. The opening refrain is a melody that you will remember tomorrow, and the spirit of the concerto is not far behind. The movement reaches ever-greater heights of animation, rushing towards an exuberant cadenza.

Piano Sonata No. 15 in F Major, K. 533/494 

The F-Major Sonata K. 533/494 actually carries two Köchel numbers. The reason is simple: the concluding “Rondo” movement was originally a stand-alone piece that Mozart composed in 1786. Two years later, Mozart wrote the first two movements of K. 533 and incorporated a revised version of K. 494 as the finale. Mozart did expand on the original Rondo in order to provide a more substantial counterpart to the other two movements.

Mozart’s Piano Sonata No. 15 in F Major, K. 533 music score excerpt

This sonata reveals an unusually sober side of the often playful and buoyant composer. There is an underlying depth and introspection, particularly in the second movement, which gives this piece a more sombre overall feeling. While the outer movements are bright and cheerful, the reflective second movement suggests a sense of emotional complexity. There seems to be an undercurrent of conflict, both harmonic and emotional, throughout the sonata.

The first movement of the sonata begins with a gently uneasy mood, with moments of brightness appearing but the tension of the opening prevailing. The second movement shifts to a more serene and elegant tone, with graceful runs and trills enhancing its beauty. The final movement, typically lively in sonatas, also features a sense of urgency but retains much of the earlier sobriety. Although there are cheerful contrasts, the piece ends with an unexpected level of tension for Mozart.

Piano Sonata No. 5 in G major, K. 283 

Mozart composed the G Major Piano Sonata K. 283 in 1774 when he was 18 years old. It is part of a set of three piano sonatas written that year, which are often referred to as the “Vienna Sonatas.” These works represent an important stage in Mozart’s development as a composer moving towards the maturity of his later piano compositions.

The sonata is in three movements and is relatively short compared to later works in his piano repertoire, making it accessible to intermediate pianists. Nonetheless, it is still a highly effective showcase of Mozart’s flair for melody, form, and thematic development.

Mozart’s Piano Sonata No. 5 in G major, K. 283 music score excerpt

Mozart presents a delightful blend of simplicity, elegance, and contrast. The first movement is bright and energetic, the second lyrical and introspective, and the concluding movement playful and spirited. Its accessible complexity, use of ornamentation, and clear contrasts between movements make it a favourite in the piano repertoire.

Piano Sonata No. 9 in D Major, K. 311 

At the age of 23, Mozart left home for the first time without his father. He was unhappy in Salzburg, and after spending time in Munich and Augsburg, Mozart and his mother arrived in Mannheim. Mozart did not get a job there but fell in love with the soprano Aloysia Weber. His father strongly disapproved and told him to depart for Paris.

Before he left for France, Mozart composed his D-Major Sonata, K. 311. The opening “Allegro con spirito” is lively and energetic, showcasing Mozart’s playful use of thematic development. The second movement, “Andante con moto” offers a contrast with its lyrical, serene quality, evoking a sense of calm introspection, and the concluding “Rondo” provides a joyful and spirited conclusion. This work is popular for its memorable melodies, balanced structure, emotional depth, and technical accessibility, making it a staple in the piano repertoire.

Piano Sonata No. 17 in B-flat major, K. 570

Mozart’s Piano Sonata No. 17 in B-flat major, K. 570 music score excerpt

The Sonata in B-flat, K. 570, was probably written for a student in 1789. For a student work, this sonata is more sophisticated than the “Sonata facile,” exhibiting an elegant and refined character. Mozart adopts the familiar three-movement structure of two faster outer movements, bracing a central slow movement.

The incredible slow movement has been described as “a kind of musical time machine looking both backward and forward.” It opens as a duet with accompaniment that is reminiscent of Bach, “but the emphatic and anguished declamations that soon follow reach into the romantic future.” While the hymn-like introduction would have been at home in the 18th century, the operatic episode that follows fits comfortably into the 19th century.

A critic writes, “this movement is emblematic of Mozart’s genius as student, master, communicator, and innovator. The scope of a career is captured in a single brief span.” I hope you enjoyed our brief excursion into the world of Mozart’s 10 most popular piano sonatas. They are such a masterful blend of elegance, emotional depth, and classical form, showcasing Mozart’s exceptional skill in melody, harmony, and keyboard technique. 

     

Angel M. Peña - his music and his life

Photo from Angel Peña Facebook page

Angel Matias Peña was born on the 22nd of April, 1921 in Laoag, Ilocos Norte, Philippines. He is a composer and bass player.  He received a certificate of merit in double-bass playing under a grant (with Gary Hickling as his mentor) and a Licentiate from the Royal Schools of Music, London.

He has arranged various jazz concerts for the Upsilon Sigma Phi at the University of the Philippines. He worked as the dance band leader at the Hong Kong Hilton for a time and conducted lecture-demonstrations, among others at the Thomas Jefferson Library in Manila in 1968, and at the University of Hawaii in 1975.

Among his compositions for orchestral music are Igorot Rhapsody (1958), Concerto for Double Bass and Orchestra (1969), Concerto for Jazz Quartet and Orchestra (1981) and Symphonic Variations on Two Manobo Themes (1983). He has also composed chamber music works.  His most popular kundiman is "Iyo Kailan Pa Man" with words by Levi Celerio.

Angel Peña won two first prizes at the Philippine National Compositions Contests. He also received a plaque from the Order of Knights of Rizal for his composition, Homage to Rizal. He has three long playing records of original compositions released in Manila, the United States and Germany.

Angel Peña is affiliated with the Performing Rights Society Ltd of London, the United Kingdom Song Writers Guild of Great Britain, the American String Teachers' Association, the Musicians Association of Hawaii, and the Audition Committee of the Honolulu Symphony Orchestra.

Music has power

 

Violine Clinic

 

When Simon Rattle raised the roof of a brand-new Symphony Hall with unforgettable Mahler

17 January 2025, 11:34

Sir Simon Rattle. Picture: Getty

By Will Padfield

We look at one of the most memorable moments of the legendary conductor’s career and his close ties with Mahler’s masterpiece. 

One of the most recognisable conductors in the world, his music-making has taken him from his origins in Liverpool to orchestras in cities worldwide. He caused an international stir when he was named the first British musical director of the Berlin Philharmonic in 1999; one of the highest honours in the conducting world.

Before Berlin though, Rattle gained international fame as principal conductor of the City of Birmingham Symphony Orchestra from 1980, transforming an already great British orchestra into one that could hold its own with the greatest ensembles worldwide.

A key moment of Rattle’s tenure with the CBSO was the opening of its top-rate performance venue – described by Sunday Times as ‘an acoustic triumph’ and by Daily Telegraph as ‘the best concert hall in the country’.  

Rattle was a figure in the hall’s development, using his influence to campaign and raise the necessity for a new hall after the orchestra’s previous performance venue – Birmingham’s Town Hall – had become unfit for a modern symphony orchestra.

Sir Simon Rattle / Berliner Philharmoniker - Mahler Symphony No 2, 'Resurrection'

After many years, the British maestro succeeded, and the stage was set for 15 April 1991, where Simon Rattle and the CBSO gave two performances of Mahler’s monumental second symphony, the appropriately named ‘Resurrection’ Symphony.

The historic event was held in the presence of Anne, Princess Royal and captured on camera. The recording manages to capture the incredible atmosphere of the concert. Everyone is on their A-game; the CBSO and CBSO chorus leaves nothing on the table, performing with high drama and electricity. Rattle superbly guides everyone through the proceedings, impressively conducting the huge work – around 90 minutes in length – by memory.

Mahler’s mighty Second Symphony has been something of a party piece for Rattle, accompanying him in several key moments of his career.

Sir Simon Rattle. Picture: Getty

In early 1973 studying at the Royal Academy of Music, Rattle organised a performance of the Symphony with his fellow students. This led him to be talent-spotted by music agent Martin Campbell-White, who still manages Rattle’s career with Askonas Holt Ltd.

It was also Mahler’s Second that Rattle chose to conduct in his last performance as music director with both the CBSO and the LSO, showing the close bond he has with the symphony.

In Rattle’s words, “Mahler’s Second Symphony is a piece which I have been involved with all my musical life. In fact, it was the piece that made me want to take up conducting when I heard it at age 12. Mahler wanted to put the whole world into a symphony… for me, it is one of the most moving of all orchestral works…”

Mahler Symphony No. 2 - Auger, Hodgson, CBSO, Rattle - Symphony Hall Birmingham

Written between 1888 and 1894, Mahler’s ‘Resurrection’ Symphony is one of the largest pieces in the orchestral repertory, scored for a full chorus, two vocal soloists and over 150 orchestral musicians – including an off-stage band consisting of horns, trumpets and percussion. Premiered in 1895, the symphony was one of Mahler’s most popular and well-received works in his lifetime.

Following the model established in Beethoven’s fifth and ninth symphonies, the work transitions from darkness to awe-inspiring light, with strong allusions to the Christian beliefs of resurrection. Mahler, who was Jewish by birth, had turned to Christianity as a way of being accepted by the increasingly antisemitic Viennese cultural elite.

The epic final moments of the symphony rank among the best moments in all music and feature in a climactic scene of the recent Leonard Bernstein biopic, Maestro.

As Sir Simon looks ahead to the future, it seems likely that Mahler’s mighty Second Symphony will continue to play a huge part in his life.

Happy Birthday, Sir Simon!

Cellist Yo-Yo Ma and French actor Marion Cotillard perform an intensely mystical duet

20 January 2025, 15:02

Marion Cotillard et Yo-Yo Ma interprètent « Le Pont » de Victor Hugo | Notre-Dame de Paris

By Will Padfield

Two world-class artists united for a performance of spellbinding power in the newly reopened Notre Dame Cathedral. 

When Notre Dame Cathedral reopened last month, six years after the fire that almost destroyed the building, it gave the world some of the best musical moments of 2024.

During the star-studded ceremony inside the cathedral, brothers Renaud and Gautier Capuçon played a violin and cello duet and Lang Lang joined forces with the legendary conductor Gustavo Dudamel and the Orchestre Philharmonique de Radio France.

There were also less conventional musical moments, such as when the grand organ of Notre Dame was ‘awakened’ in a call-and-response dialogue between the Archbishop of Paris, Laurent Ulrich, and the organ.

An equally ‘dramatique’ moment of the ceremony came when Yo-Yo Ma collaborated with the French film star Marion Cotillard to perform a poem by Victor Hugo. Cotillard is one of France’s most recognisable actresses, appearing in an array of award-winning films, including La Vie en Rose, Inception and The Dark Knight Rises. 

Yo-Yo Ma and Marion Cotillard in Notre Dame. Picture: Youtube screen grab

In the performance, Cotillard gives a chilling reading of Hugo’s poem Le Pont (The Bridge), whilst Ma interjects the poem with improvised gestures on his cello. The poem is deeply moving, dark and mysterious opening with a cry of desperation:

‘I had darkness before my eyes. The abyss

That has no shore and no peak,

Was there, gloomy, immense; and nothing moved there.’

Ma perfectly captures the essence of the text, complimenting Cotillard’s delivery with gentle brush strokes of the cello that are chilling to listen to. The timing between the two legendary performers is perfect, with both leaving space for the immense hall to carry the sound into every corner of the building.

Yo-Yo Ma is no stranger to improvised performances and has frequently raised the importance of it being embedded in musicians’ education, telling The Strad: “Classical musicians today have moved away from improvisation, but it’s an essential part of owning the music.”